Sandow Birk is a real renaissance man. His exceptional, provocative and socially conscious work has garnered a small but passionate following from the Juxtapoz set, as well as the international art community. Formally trained, Fulbrighted and Guggenheimed, Sandow brings Old-Master talent and an amazing sensibility to all that he does.  In my surf industry days, I was luck enough to meet Sandow, through local Sunset beach surfer, and art patron, Greg Escalante.

Working across all mediums, both public and private, Sandow is a painter, sculptor, muralist, puppeteer, and filmmaker. He is a respected muralist, creating pieces for L.A. County lifeguards, public transportation, and the City of Long Beach. His best known work is his most ironic: “Prisonation,” plein air-like landscapes of California’s state prisons, and “In Smog and Thunder,” oils depicting a contemporary civil war between San Francisco and Los Angeles.

I’m awed by the scope of his creativity and multi-media talent—but naturally, I’m particularly fond of Sandow’s surf pieces. These aren’t the lyrical watercolors of John Severson or Pettibon’s punk aesthetic. Sandow’s surf series take a look at important world events—all from the surfer’s point of view. Connecting surfing to the maritime world, writ large, Sandow believes the surfer’s a kin of sailors: both watch tides, chart storms and share an intimate knowledge of their home ports.  Up until 10 years ago, my taste in surf art was kitsch, garage sale, or an oversized one-sheet from a 60’s Hollywood surf film.

Like his other work, Sandow’s surf paintings nod to the iconic, like Gericault’s “The Raft of Medusa” and Leutze’s “Washington Crossing the Delaware.”

As part of an overall committment to surf art, I saw Sandow’s surf pieces at the Laguna Art Museum, and was inspired by his surfer’s view of history. I was particularly taken by a massive 8’X8’ oil, “The Release of Nelson Mandela from Robben Island Prison, Cape Town, South Africa-March 12, 1989.” Sandow’s painting depicts the historic release of the South African who was to lead his country and become president. As the boat leaves Robben Island, site of one of South Africa’s most notorious prisons, surfers in the foreground ride perfect right handers, oblivious to the internationally newsworthy event nearby.

Heavy? Maybe.

For two years, the painting hung on loan in front of my office door.  I studied it daily, and through some passionate pleading and horsetrading, I acquired Sandow’s “The Release of Nelson Mandela…” four years ago. Its massive scale and social commentary make an interesting juxtaposition between my “found” surf art and Pettibons.

Bitchin’? Absolutely.

My first tug on the amazingly stretchable the Hurley Phantom boardshorts was at the Sundance Film Festival this year. My friend and Fred Segal Fun owner, Jackie Brander, always assembles the best and coolest brands for her celebrity SWAG house, and I was able to do a few laps, see what people were oogling and pick up a pair of classic K-Swiss sneakers with my pal and Lionsgate Vice Chairman, Michael Burns.

The Hurley gear was in high demand and their “one and only” T-shirt had the celebs lined up. On the rack was a pair of the Phantom 120 boardshorts, which had blown out of the SWAG house in a matter of hours. Having grown up in Red Hang Tens in my youth and then on to Katins and Birdwell Beach Britches, I have had my share of trunks—and rashes. What’s amazing about Hurley’s Phantoms is the amazing stretch, and seamless construction. Why no one had developed a super comfortable, really stretchy short before seems crazy, but Hurley has nailed it.

The Phantoms have lit up the category and while the top of the line 120’s (for 120% stretch) retail for nearly $100, they’re still blowing out of surf shops—globally. You can still find them online at Hurley and Zappos. Forget about needing multiple boardies, all you need are Phantoms. Hurley also makes the Phantom 60 (you guessed it, 60% stretch) that are about half the price of the 120’s. I have them both, and even the Phantom 60’s are better than anything that has come before. Even my once favorite Patagonia boardshorts have been relegated to the bottom of the drawer, as the Phantoms are all I wear for volleyball, surfing and yoga. My 6 man volleyball team, Neptune’s Hecklers, will be outfitted in black Phantom 60’s at this year’s Manhattan Open Six Man Tournament (August 1-2) on the south side of the Manhattan Beach Pier.

Before Hurley was acquired by Nike a few years ago, surf industry pundits were quick to point out that “size was the enemy of cool,” and that the marriage of these two companies would never work. But, many of us hoped that Nike technology would find it’s way into Hurley’s brand sensibility. Hurley’s strong vision is overseen by Hurley’s brand leader and visionary, Paul Gomez. The Phantoms seem to be the perfect blending of the two cultures.

I was lucky enough to get to chat with Hurley Founder/CEO Bob Hurley and Paul Gomez last week, and, after catching up, we quickly got around to talking about the Phantoms. I told them that in watching what’s happening on the beaches I’ve been to in the last 6 months, that the Phantoms have become to surf culture what Under Armour, pre-IPO/still underground, was to bat and ball sports. At that time, Under Armour was what standout ballers and football players brought home from college tryouts and pro combines. Hard to believe now, but Under Armour was like the “impossible to come by” newest Nikes and Adidas that were provided at summer development leagues, and was only available online through their site or at legit gyms like The Yard in Hermosa Beach. On the beach, Phantoms are what everyone wants, what the hottest groms and even older rippers are wearing.

If Prada made a technical boardshort this would be it.

Suffice it say, you definitely need some.

I started playing the Ukulele in 7th grade, Center School talent show was my first performance, while the older surfers at Marine Street—The Marine Street Crabs—were my inspiration.

I rediscovered playing the Uke last year and found my original old Kumalae Uke from the 1920’s. I remember buying it at the Roadium Swap Meet in Torrance as a kid. I take a Uke with me on the road when I traveled for work and vacation. I love the way the Uke sounds, how it makes me feel, how small/light it is—it’s hard not to be happy playing a Uke.

I’ve been working with a friend and teacher, Ron Caron, to develop my skills, add chords and create tabs for some of my favorite songs. The current playlist include some Johnny Cash: “Walk The Line,” “Folsom Prison Blues” and “Get Rhythm“. I’ve also rediscovered some of my favorite Beatles songs: “Til There Was You,” “She’s a Woman,” “Something” and “Only You” (this is a crazy video). McCartney played “Something” on the Uke at Coachella this year. George Harrison was a Uke player and I think a lot of what he wrote was composed on a Uke.

I’m working on getting more Jack Johnson songs in the repertoire, and I dig playing “Breakdown,” which Jack plays on the Uke. If you need any of these tabs, or have any to share, hit me up.

I’m always looking for good old Ukes, and like guitars, sometimes the beaters sound the best. My current favorite is a vintage Koa wood Kamaka from the 1960’s. I picked it up on ebay, cheap, as it isn’t the prettiest example. But the tone is magical.

I also recently scored a vintage Martin on ebay, that while there’s a lot of crazing of the varnish, the sound is warm and beautiful. When the varnish is perfect, they sound tight and tinny and lack the charm and tone of the crazed ones.

There’s been a lot of Ukulele press lately including a really interesting NPR piece on the Uke’s revival as sales are climbing while musical instrument sales in general are on a steep decline. The story centers on a group of displaced UAW workers in Michigan who regularly get together to jam on the Uke.

Speaking of that, I brought my Kamaka to work in Palo Alto last week, and played at lunch with my colleague , fellow surfer and bro Teddy Underwood. Teddy’s a great Uke, guitar and banjo player. It was a treat.

I can’t go a couple days without picking up the Uke, I always take it to the beach with me—some of my Sunday volleyball buddies are getting sick of it. And, with some upcoming trips, I know the tweed Uke case is gonna be in the overhead bin.

While more pleasure than transport, surfboard shapes, colors, shapers, and fin choice, do as much to establish your rank in the line up as that first takeoff at a spot that isn’t your home break. When you’re trunking it, there isn’t much beyond your board to establish your personal brand.

Many of my friends have gone quiver crazy, too many boards and confusion when it’s time to get in the water… Which board? Which fins, etc….

I’ve tried to simplify things and have gotten down to a reasonable number, five:

• 5’10” Channel Islands Fishcuit
• 6’4” Stretch Surfboards Fletcher Quad
• 10’0” Vintage Surfboards Hawaii Model A (Stays in Honolulu, stored at my friend Toru’s Surf Garage, one of the coolest little surf shops in the world.)
• 10’0 Con CC Rider, built by local shaper Bruce Grant
• 6’0” Classic Fish Pavel twin fin

I spend most of my time with the Fish and the Fishcuit, but the big South in Honolulu two weeks ago—Outer Canoes, Three’s, Black Point, and Queens—pushed the limits of the Model A. I had to run by Toru’s to pick up a leash and 9.5” fin, but the classic 10’0” worked well. Wouldn’t have been my first choice—would have loved to have the Stretch Quad with me, but that’s how it goes.

These days, other than San-O, and an occasional Dum trip, I stay close to home, surfing in front of the house with many of the guys I grew up with. I don’t need the dawn patrol, three-hour sessions, unless I am traveling, so four to five waves before work gets me straight.